| associative logic | A description of how a mind moves from one idea to another through the associations between the two ideas instead of through direct cause and effect. (4-63)
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| causal logic | A deductive way of understanding a sequence of events that discovers the way each event is caused by another; it is the most common way an actor analyzes a role and a critic analyzes a play. (4-63)
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| Classicism | A theatrical style in which the artist strives to imitate an idealized reality based on the power of reason; Classicism commonly is associated with the ancient Greek notion of "the golden mean," in which excess is considered improper and balance and proportion are considered desirable. (4-66)
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| Determinism | A philosophy that holds that humans are shaped by genetic and environmental forces. (4-46)
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| Expressionism | A theatrical style in which the artist strives to imitate subjective reality as it is experienced in nightmares and in which the visual world is distorted and abstracted to demonstrate how the central character feels about it; as a literary genre, Expressionism presents the story through the central character's vision and voice. (4-40)
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| hubris | The Greek word for excessive pride, which was considered to be a flaw in the character of an otherwise ideal person; the common flaw in the tragic heroes of ancient Greek dramas. (4-67)
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| idealized reality | An artistic expression of the artist's vision of truth based on either an intellectual or an emotional ideal of how the world ought to be; the reality of the theatrical styles of Classicism and Romanticism. (4-37)
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| imagistic design | Scene design that explores visual metaphors and striking images rather than representing observed reality; frequently associated with the theatrical style of Postmodernism. (4-64)
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| Modern Art | An artistic movement of the first half of the twentieth century that expressed the deeper truth that outward appearances hide the truth of the human condition; Modern Art presents a visually distorted picture of the world. (4-54)
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| Naturalism | A theatrical style developed in the nineteenth century that is based on the philosophy of Determinism and that strives to present on stage an exact imitation of everyday life; Naturalism and Realism are closely linked, and sometimes the terms are used interchangeably. (4-47)
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| objective reality | A theatrical style, expressed in Realism and Theatricalism, that imitates the way things appear on the surface. (4-37)
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| Postmodernism | A theatrical style that evolved from Surrealism in the late twentieth century and that combines an imitation of the subjective reality of Surrealism with the objective reality of Theatricalism; Postmodernism is sometimes associated with imagistic theatre. (4-64)
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| Realism | A style of theatrical production and dramatic writing that imitates selected traits of the language and appearance of everyday life; it evolved from Naturalism, and today the terms "Realism" and "Naturalism" are used interchangeably. (4-37)
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| Romanticism | A theatrical style in which the artist strives to imitate an idealized reality based on the importance of emotion; Romanticism evolved in the early nineteenth century as a reaction to Classicism, and it values excess emotion. (4-68)
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| subjective reality | The truth of human experience as abstracted in the unconscious, the primitive, and the irrational, expressed in the theatrical styles of Surrealism and Expressionism. (4-37)
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| Surrealism | A theatrical style in which the artist strives to imitate subjective reality as it is experienced in whimsical dreams; surrealism uses associative logic instead of cause-and-effect logic to move from one incident to the next. (4-59)
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| theatrical styles | Ways in which theatre productions express reality. (4-37)
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| Theatricalism | A theatrical style in which the artist strives to imitate objective reality as it is traditionally presented in the theatre; theatricalism is based on the belief that we are all self-conscious creatures who "act" our lives. (4-50)
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